Sara Moreira wrote this brilliant article for Global Voices Online, examining how music has played such an important part in the resistance movements of the Angolan people, both in the late 60s and early 70s as well as right now. It reminded me a bit of an article I wrote a couple of years ago highlighting the charged political leanings of Lusophone hip-hop. Sara's article puts the spotlight on the persecution and violent repression of the movement that has recently been protesting against Dos Santos' three-decades-old rule; the most prominent people in this movement, it turns out, are invariably musicians. It's therefore inevitable that parallels are drawn between the repression of pro-independence musicians back in the 70s. Read on:

Angola: Rhythms of Resistance, Past and Present

by Sara Moreira

On 24 May, 2012, Amnesty International reported[1] that as the August elections in Angola approached, intimidation and violence against freedom of speech was expected to escalate, including that against political musicians. The report called for a full and impartial investigation into a violent attack against a group of anti-government activists, which included rapper Hexplosivo Mental[2].

Two weeks later, on June 11, another artist, known for his open opposition to the government, Luaty Beirão, also known as Ikonoklasta or Brigadeiro Mata Frakuxz, was arrested[3][pt] at the airport of Lisbon, for allegedly carrying cocaine in his luggage. On social media, many people commented that the real reason behind #Ikonoklasta[4]'s detention was political. In recent times, the rapper's voice of dissent has become more and more visible, as he openly lent support to the frequent street protests in Luanda where dissidents have been holding demonstrations to voice discontent with the government of President José Eduardo dos Santos[5], who has been in power for 33 years now.

Previously, Luaty had been arrested in March 2011, in a preemptive maneuver[6] by the government which resulted in the cancellation of the proposed large-scale, anti-government demonstrations scheduled for March 7,2011. One year later he was attacked[3] [pt] by pro-regime militias in Cazenga.

Time travelling to other ‘rhythms' of resistance

In a journey to another time of Angolan music of resistance, the historical group N'Gola Ritmos[7] from the 50's and 60's, was honored by the non-profit association Centro Interculturacidade[8] [pt] in Lisbon, in the beginning of June, 2012. Celebrating the presence of Amadeu Amorim, one of the members of N'Gola Ritmos[7], blog Interculturacidadepaid[9] [pt] a tribute to the group, which was described as:

(Force behind the idea of independence in Angola, and thus persecuted, dismantled, and several of its members arrested. Amadeu was long time in Tarrafal [prison camp[11] in Cape Verde] - and the leader of the group, Carlos Liceu Vieira Dias, (was in prison) even longer.)

In an interview published[12] [pt] on the blog Nós Por Cá, by Silvia Milonga in 2002, Amadeu Amorim explained “what N’gola Ritmos stood for in the social and political context” back then:

Basically, it was a peaceful rebellion, trying to awaken dormant consciences, who did not believe anything else, seeing the 500 years of [Portuguese] colonization. There was no television or radio for everyone, the newspapers did not reach the slums or the interior of the country and we knew that a song stayed stuck in a whistle, in singing. In the LNA [Angolan National Liberation] when we sang in Kimbundu, people turned their face half ashamed, they called us ‘mussequeiros' [a mention to people from the slums, musseques in Portuguese]. Some people amidst those guys who were awake, understood why we sang in Kimbundu, others showed up later saying that they spoke or sang in Kimbundu. We made it to Esperança (Hope) Radio, a radio broadcast of Brazzaville, heard in secret. Our song was the only one that existed, people were listening to the radio and to N'gola Ritmos, the message saying that we hadn't come to an end, we are just starting, was in the loop.

Wednesday, June 27, 2012

For the reader that has kept coming back to this website in vain expecting some sort of update (it's been three weeks now), this podcast is for you!

I did this podcast at the behest of Henrique from Zarpante, the Lusophone crowdsourcing and crowdfunding internet initiative. You'll notice their logo further down on the page under "Partnerships". The proposed them was the new generation of Angolan artists, a topic I am only too happy to talk about. Choosing which artists to speak about was relatively easy; I love talking about them to anyone who makes the mistake of listening to me, and the conversation flows easily.

It's my first podcast so excuse the quality, the fact that my voice dips considerably in volume on the second half of this podcast, and so on, but the music on show is excellent and the next one can only get better.

Occupy youself with the songs listed below, all of them available for download separately here on the Lounge:

Wednesday, June 6, 2012

As we begin the third stage of our journey, we'll skip over Nomes, Rimas e Palavras, which has been featured here before, and we arrive at two of the most solid tracks on the album. They feature two of heavyweights of the moden Angolan music scene: Paulo Flores and Bruno M. Featuring an artist of Paulo Flores’ stature is a major coup for someone like MCK, who, not too long ago, considered it too unsafe to even show his face in public and is still the subject of covert regime persecution. Perhaps Paulo Flores participation will help certain people get rid of some of their “misconceptions” regarding freedom of speech in music. From Paulo and Kapa’s collaboration spawned the beautiful song Nzala, a composition that highlights the precarious, shameful living conditions of an embarrassingly large part of Angola’s urban and rural population.

Kamama ou Kuzu is another standout in this album. Camama is the name of a famous prison in the outskirts of Luanda, while kuzu is slang for being imprisoned. In the song, Katro and Bruno M rap that “there are only two options: Kamama or Kuzu”. Much is said about Angolan kuduro but very little is said, internationally at least, about Bruno M, perhaps Angola’s most lyrically evolved and most socially-conscious kuduro artist. He’s in fine form on this one, equally adept spilling verses over a hip-hop beat as he is on a kuduro track; after all, there are many bridges between these two disparate but urban-born musical genres. Even if you don’t understand Portuguese, you can appreciate the delivery…

Bonus Track:

If you heard Bruno M and liked what you hear, there’s more. I mentioned above that he’s one of the most innovative kuduro artists working in Angola, and one that has positively surprised me; the lyrics of his kuduros read like social manifests, and his deft wordplay betray an uncommon intelligence rarely seen in this genre, which relies mostly on exhibitionism and materialism. A friend of mine called Bruno M’s music “conscious kuduro”, comparing to the conscious hip-hop movement. Take a listen to Por Cada Lágrima; when has kuduro been done like this before?

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About Caipirinha Lounge

“Without music, life would be an error.” Friedrich Nietzsche

Caipirinha Lounge is all about music in Portuguese or by Lusophone artists. It's born out of a sincere belief that Lusophone music should reach a much larger audience. The lounge features music from Brazil, Angola, Portugal, Guine-Bissau, Cabo Verde, São Tomé & Principe, Mozambique, Galicia, and even Timor-Leste. Occasionally, there will be posts about singers so good that the fact that they do not sing in Portuguese is momentarily overlooked.

The purpose of this bilingual blog is purely educational. Plug in your earphones and hear rhythms from places you have never heard of, from artists you have never heard about, sung in the world's most beautiful language. If you like a song, you can download it by right clicking on it and then clicking "save target as". If you like it a lot, buy the cd, support the artist, keep good music alive.

If you are a singer or a label and want a particular song taken down, please contact me. Or, if you have music you think I will enjoy, do send! claudio.silva(at)caipirinhalounge.com